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Hip Hop Art vs. Heritage: For over three decades, Hip Hop has been rapidly evolving, not only as an arts discipline, but as an influential cultural force, especially amongst youth of historically under-represented backgrounds. However, despite it being recognized by the United Nations and the U.S State Department as a culture, Hip Hop still struggles to find representation beyond the commercialized, mass-media portrayals of its artistic practices. By approaching Hip Hop history documentation as a heritage discipline, “OurStory” provides a foundation and platform to authentically represent neglected aspects of Hip Hop heritage, while showing how the unique historical and sociological environment of the culture and its diverse representative community.

OurStory includes in-depth documentation through interviews, literature, articles, photos, videos, fliers, posters, memorabilia, artifacts and more.

If you are interested in contributing to this project, or would like to share your story, contact us by email at: info@206zulu.com [1] or visit www.206zulu.com [2] for further information.

Introduction to OurStory

In the early 70s, Hip Hop as we know it was born in the streets of Bronx, New York as an alternative to gang violence and tension that blanketed the urban terrain.

It was deejaying pioneers like Kool Herc, Afrika Bambaataa of the Zulu Nation, and Grandmaster Flash who brought people together in peace with large block parties and park jams. Mixing Go-Go, Soca, Salsa, Reggae, Rock, Jazz, Funk, African music, and other diverse sounds, Deejays were foundational to the development of Hip Hop culture. They began to extend the drum portions of many records using two turntables and a mixer. This innovation became known as the "Breaks" of the beat.

These Breaks were instrumental to the evolution of the B-boy or Break Boy. B-boys and B-girls congregated in circles (cyphers) while taking there fast-paced dancing styles to the ground with footwork, freezes, and other physically demanding moves.

The MCs (Masters of Ceremonies or Mic Controllers) were the ones who amped up the crowds for the Deejay. The Emcees were the voice of the party, using chants, call and responses and shout outs to energize the audience. As the Emcees began to incorporate rhythmic poetry, scatting, and harmony into the performance, they eventually became the center of attention.

During this time Graffiti writers went from vandalism to artistry, painting large, colorful and complex pieces and scenery. As the four main elements of Hip Hop (Deejaying, Emceeing, B-boying/B-Girling, and Graffiti) expanded to the clubs and galleries of Manhattan, the industry of Hip Hop music, entertainment, and art became more and more popular.

By the early-to-mid 80s, Afrika Bambaataa and many of his Zulu Nation members began to travel the world, spreading Hip Hop culture's influence, history, and teachings to young people internationally. Hip Hop blew up as it could be seen and heard just about anywhere. Today, Hip Hop is one of the greatest influences in youth and adults all around the world where local communities/scenes thrive.

OurStory: Seattle Hip Hop

Seattle Hip Hop is rich with a history that traces back to the early 80's. It is generally agreed that there are four main waves or generations that is embodied- the first group of pioneers from the early to mid 80s such as Nasty Nes, Sir Mix-A-Lot, Dad1, Emerald Street Boys, Silver Shadow D, Solo Doe, Mr Clean, Danny Mo, Skeee, Specs One, Pablo D, Mr. Supreme, the second wave from the late 80's to the mid 90's with veterans who advanced the framework such as Source of Labor, Piece of Sol, Black Anger, DVS, Tribal, the third wave from the mid 90's to early 2000's such as Oldominion, Alpha-P, Mad Krew, DJ Scene, DJ WD4D, Abyssinian Creole to the fourth wave from the 2000's to present-day with artists such as Dyme Def, D. Black, Canary Sing, Larue and others.

Timeline

Timeline

Biographies

Afrika Bambaataa, Dume41, Gabriel Teodros, Georgio Brown, Greg Campbellock Jr. (RIP), Khingz, King Khazm, Nasty Nes, Sir Mix-A-Lot, Suntonio Bandanaz